Learn and talk about List of Hollywood-inspired nicknames, Hollywood history and culture, Lists of regional nicknames Lollywood refers to the Urdu and Punjabi films of Pakistani film industry based in the city of Lahore , Punjab, Pakistan . Chhollywood is the colloquial name given to the Chhattisgarhi language movie industry in Chhattisgarh , India. Tollywood may refer to: the Bengali film industry in Tollygunge , West Bengal , India. It was the first Hollywood-inspired nickname, dating back to 1932, Kollywood is the colloquial name given to the Tamil language film industry in the Indian state of Tamil Nadu . Kollywood West can refer to Tamil films produced in Europe and North America. Kollywood South can refer to Tamil films produced in Sri Lanka or Singapore. Mollywood may also refer to the Malayalam film industry in the state of Kerala . America[ edit ] Chollywood refers to the Peruvian film industry. It is also spelled "Choliwood." Hollywood North refers to film and television production in Canada , especially the cities of Vancouver and Toronto . Mollywood may refer to the Mormon film industry in the United States.

Somaliwood refers to the film industry that has sprung up around the Somali immigrant community of Columbus, Ohio . Europe[ edit ] Etyekwood is the informal name given in the media to Hungary's new Korda Studios under construction in the wine-making village of Etyek near Budapest . Hollyhammar was used to refer to a TV production facility in Hallstahammar , Sweden , in the 1990s. [3] Pinewood , name given because of the pine trees surrounding it. Is located in Buckinghamshire , England Trollywood is the informal name for a film production facility in Trollhättan Municipality , Sweden. Valleywood is the informal name for the Dragon International film studio complex in Wales . Other[ edit ] Chinawood is a nickname for the Hengdian World Studio , the largest filmstudio in China. Pallywood is a term used by conservative commentators to describe alleged anti-Israeli media manipulation through video footage. Hollywood-inspired names : Wikis (The Full Wiki) The Full Wiki More info on Hollywood-inspired names Wikis Hollywood-inspired names: Wikis Advertisements Note: Many of our articles have direct quotes from sources you can cite, within the Wikipedia article!

This article doesn't yet, but we're working on it! See more info or our list of citable articles . (Redirected to List of Hollywood-inspired nicknames article) From Wikipedia, the free encyclopedia Hollywood is such an iconic name that various other locations associated with the film industry are nicknamed with Hollywood-inspired names. Most starting with the first letter(s) of the location and ending in the letters "-ollywood" or "-wood". Bollywood is the informal name given to the Mumbai (Bombay) based film industry in India . Bulawood is the name given to the Fiji film industry, Bula being a greeting in the Fijian language Chinawood is a nickname for the Hengdian World Studio , the largest filmstudio in China. Chollywood refers to the Peruvian film industry. It is also spelled "Choliwood." Dhaliwood refers to the Bangladeshi film industry, based in the city of Dhaka . Dollywood is an amusement park owned by Dolly Parton . It may also be used as an alternative spelling for Dhaliwood . Etyekwood is the informal name given in the media to Hungary's new Korda Studios under construction in the wine-making village of Etyek near Budapest .

Hollyhammar refers to the film industry in Hallstahammar , Sweden . Hollywood North refers to film and television production in Toronto and Vancouver and (more recently) throughout Canada . Kollywood is the name of the Tamil language film industry, based in the Kodambakkam district of Chennai , Tamil Nadu , India . Kollywood West can refer to Tamil films produced in Tamil diasporal regions such as Canada , Germany , France and the United Kingdom . Kollywood Nepal may also refer to the cinema of Nepal, the capital of which is Kathmandu. Lollywood refers to the Pakistani film industry, based in the city of Lahore . Mollywood may refer to the Malayalam film industry in India. Mollywood may also refer to the Mormon film industry in the United States. Mollywood is also sometimes jokingly used to describe the letters on the hillside of the north-eastern edge of the suburb of Mosgiel in Dunedin . Nollywood is the Nigerian film industry. Pinewood , name given because of the pine trees surrounding it. Is located in Buckinghamshire , England Ollywood is the colloquial name given to the Oriya language movie industry in Orissa , India .

Pallywood is a term used to describe Anti-Israeli media manipulation through video footage Pollywood is the colloquial name given to the Pashtu language movie industry in Peshawar , Pakistan . Sandalwood refers to the Kannada language Karnataka film industry in Karnataka , India . Sollywood has been used to refer to the Sindhi film industry. Somaliwood refers to the film industry that has sprung up around the Somali immigrant community of Columbus, Ohio . Tollywood may refer to the Bengali film industry in Tollygunge , West Bengal , India . It was the first Hollywood-inspired nickname, dating back to 1932. Tollywood may also refer to the Telugu film industry in the state of Andhra Pradesh . Trollywood is the informal name for a film production facility in Trollhättan Municipality , Sweden . Valleywood is the informal name for the Dragon International film studio complex in Wales . Wellywood refers to Peter Jackson 's film studio located in Wellington, New Zealand .

One Hollywood-inspired nickname does not refer directly to the film industry: "FC Hollywood" is a nickname for FC Bayern Munich , used especially widely by German media in the 1990s, an era in which Bayern players were as likely to appear in gossip pages as in sports pages. See also Categories: Hollywood history and culture | Nicknames Advertisements Hollywood is such an iconic name that various other locations associated with the film industry are nicknamed with Hollywood-inspired names. Most starting with the first letter(s) of the location and ending in the letters "-ollywood" or "-wood". Bollywood is the informal name given to the Mumbai (Bombay) based film industry in India . Bulawood is the name given to the Fiji film industry, Bula being a greeting in the Fijian language Chinawood is a nickname for the Hengdian World Studio , the largest filmstudio in China. Chollywood refers to the Peruvian film industry. It is also spelled "Choliwood." Dhaliwood refers to the Bangladeshi film industry, based in the city of Dhaka . Dollywood is an amusement park owned by Dolly Parton . It may also be used as an alternative spelling for Dhaliwood.

Etyekwood is the informal name given in the media to Hungary's new Korda Studios under construction in the wine-making village of Etyek near Budapest . Hollyhammar refers to the film industry in Hallstahammar , Sweden . Hollywood North refers to film and television production in Toronto and Vancouver and (more recently) throughout Canada . Kollywood is the name of the Tamil language film industry, based in the Kodambakkam district of Chennai , Tamil Nadu , India . Kollywood West can refer to Tamil films produced in Tamil diasporal regions such as Canada , Germany , France and the United Kingdom . Kollywood Nepal may also refer to the cinema of Nepal, the capital of which is Kathmandu. Lollywood refers to the Pakistani film industry, based in the city of Lahore . Mollywood may refer to the Malayalam film industry in India. Mollywood may also refer to the Mormon film industry. Mollywood is also sometimes jokingly used to describe the letters on the hillside of the north-eastern edge of the suburb of Mosgiel in Dunedin Nollywood is the Nigerian film industry. Pinewood , name given because of the pine trees surrounding it.

Is located in Buckinghamshire , England Ollywood is the colloquial name given to the Oriya language movie industry in Orissa , India . Pallywood is a term used to describe Anti-Israeli media manipulation through video footage Pollywood is the colloquial name given to the Pashtu language movie industry in Peshawar , Pakistan . Punjwood refers to the Punjabi language film industry in India . Sandalwood refers to the Kannada language Karnataka film industry in Karnataka , India . Sollywood has been used to refer to the Sindhi film industry. Somaliwood refers to the film industry that has sprung up around the Somali immigrant community of Columbus, Ohio . India - Economy ROK : K-pop Bollywood Fully one-half of the world's annual four billion movie theater admissions are in India. The Indian film industry - centered around the Hindi-language industry in Mumbai, known as "Bollywood" - is the world's largest. Nevertheless, with modest revenues and low profitability, the industry's impact is more cultural than economic. In the last decade, however, the Mumbai-based entertainment industry has began to corporatize, professionalize, and seek broader - including more global - audiences.

With rising incomes and extensive room for expansion, industry representative and analysts agree that the film and entertainment sector has tremendous growth potential. While few expect Indian films to catch on globally, Indian entertainment companies are aiming to develop content and partnerships to tap both domestic and international audiences. While the Indian film industry has always been diverse - many of the world's best known "art house" directors come from India - the industry was built on three hour action and romance films, with numerous dance and musical numbers. The Indian film industry produced roughly twice the number of movies as the American film industry in 2010, and sold 2.5 times the number of box office tickets as the US market. However, the Indian film industry's domestic box office revenues were modest; in 2008 Indian films earned only USD 1.6 billion compared to Hollywood's USD 9.7 billion. Ticket prices in India are considerably less expensive than those in the U.S. or Europe, one reason profits are lower. Despite its fame, Indian films produce little fortune; the market for Indian films is highly fragmented, and only a few films make any money. According to film producer G.K. Desai, only one in every 10 Hindi movies is successful.

Siddharth Roy Kapur, the CEO of UTV Motion Pictures, concurred, and averred that only five percent of Hindi movies released in 2009 made a profit. Nevertheless, people continue to make films because of the attraction and glamour of Indian cinema, and the long-term revenue potential of video and cable releases. With over 22 national languages, local and vernacular-based industries compete in a highly regionalized market. Of the 1000 films produced annually, Bollywood produced about 200, the rest coming from regional or non-Hindi productions. However, in terms of reach and revenue, as well as its stable of nationally-recognized stars, Bollywood films dominated the industry. Jehil Thakkar, Head of Media and Entertainment for KPMG, said that Bollywood accounted for 46 percent of the total Indian film industry revenues film industry experts noted, however, that South Indian cinema - Tamil, Malayalam, Telegu, and Kannada language films - perform better at the box office, with four of every ten films becoming profitable. Contrary to popular belief, many in the industry admit that the South Indian film industry is better developed than the better known Hindi language film industry.

According to Desai the southern film industry is more organized than Bollywood, and Kapur admitted that the technical talent and the quality of South Indian films is far superior to Bollywood films. Chhollywood is the colloquial name given to the Chhattisgarhi language movie industry in Chhattisgarh, India. Dhaliwood or Dhallywood refers to the Bangladeshi film industry, based in the city of Dhaka. Dhollywood or Gollywood refers to the cinema of Gujarati Language in Gujarat, India. Jollywood is the colloquial name given to the Assamese language movie industry based on Jyoti Chitraban, Guwahati, Assam. Kabulwood is the name of Afghan Cinema. Kaliwood refers to the cinema of Nepal, the capital of which is Kathmandu. Kariwood refers to the Pakistani film industry, based in the city of Karachi. Kollywood is the colloquial name given to the Tamil language film industry, based in the Kodambakkam district of Chennai, India. Kollywood West can refer to Tamil films produced in Europe and North America. Kollywood South can refer to Tamil films produced in Sri Lanka or Singapore.

Kollywood also refers to the Nepali film industry Lollywood refers to the Urdu and Punjabi films of Pakistani film industry based in the city of Lahore, Punjab, Pakistan. Mollywood may also refer to the Malayalam film industry in the state of Kerala. Ollywood is the colloquial name given to the Odia language movie industry in Odisha, India. Pollywood is the Punjabi language film industry in India, based in the states of Punjab, Haryana, and Delhi. Pollywood is a colloquial name given to the Pashto language movie industry in Peshawar, Khyber Pakhtunkhwa, Pakistan. Sandalwood refers to the Kannada language film industry in Karnataka, India. Sollywood has been used to refer to the Sindhi film industry. Tollywood is the Bengali film industry in Tollygunge, West Bengal, India. It was the first Hollywood-inspired nickname, dating back to 1932, and the Telugu film industry in Andhra Pradesh and Telangana. In recent decades, the Bollywood film industry has been associated with the notorious Mumbai underworld, at the nexus of gangsters, money, and politics.

This association stemmed from the financing needs of the industry; until 2000, by government fiat, the film industry was ineligible for bank credit, private equity, and other means of legitimate commercial financing. As a consequence, films were financed by ad hoc collections of investors, many of whom were from the construction and trade industries, who charged interest rates as high as 60-100 percent. The industry also welcomed funds from gangsters and politicians, looking for ways to launder their ill-gotten gains, known in India as "black money." After the government added the film industry to the list of legitimate industries, the corporatization of Bollywood - and the wider entertainment industry - began. Most of the major entertainment firms have evolved into a broad range of content lines, including films, TV, and music, much like the U.S. counterparts. Even leading film stars, like Amitabh Bachchan, ssued IPOs and listed their own production companies on the stock exchanges. However, Sanjeev Lamba, the CEO of Reliance Big Pictures which runs Anil Ambani's Reliance ADA group's movie business, lamented that the Indian film industry is still 60-70 years behind Hollywood in terms of corporatization.

Following the Hollywood model, many film and entertainment companies are moving away from an actor/star-based system to a system more reliant on the production company's brand, and its stable of producers and directors, says Kapur. In doing so, studios can lessen their dependence on actors -- who often command fees for as much as 50 percent of the film's budget (compared to 10-15 percent in the US)-- and increase their chances of profitability for each film. Observers blame excessive competition and multiple avenues and sources of financing for much of the industry's problem because there is too much money and too many people chasing limited amount of talent. Akshaye Widhani, Vice President of Yash Raj Films, believed that by 2010 there was a "price bubble" in the film industry. The entry of foreign studios and availability of multiple financing options had built up unrealistic expectations, especially with regard to actors' salaries, he complained. Widhani believed that costs had to decrease by 40 percent for the film business to sustain itself in the long term. However, actor's expectations will become more realistic only after one of the major production studios fails or declares bankruptcy, he admitted.

Industry representatives and analysts agreed that the Indian film industry offers great opportunities for domestic growth. KPMG expected revenues from Indian cinema to grow from USD 2.3 billion in 2008 to USD 3.6 billion by 2013. Screen penetration and consumer spending is still extremely low in India, with both on the rise. The largest theatre chain in India had less than 200 screens; the world's largest movie exhibitor owns over 6,600 screens. With 12 screens per million people in India, compared to 117 screens per million in the US, there was considerable room for growth. Additionally, according to KPMG, consumer discretionary spending is expected to increase from 39 percent to 70 percent of total household spending by 2025. With flat growth projections for the U.S. and European film markets, India is an attractive destination market for both foreign and domestic firms. By 2010 Indian entertainment companies were increasingly interested in developing and co-producing Hollywood films intended for Western audiences. Indian film companies were also making inroads in Hollywood.

UTV Motion Pictures co-produced two films with Fox Searchlight, "The Namesake" and "I Think I Love My Wife" and one with 20th Century Fox, M. Night Shyamalan's "The Happening," which grossed over USD 170 million worldwide. Kapur explained that the UTV-Hollywood co-production collaborations for Hollywood movies were "tactical" and driven by the script of the films. UTV had more traction with the Western market through film festivals. In fact, UTV worked with Aamir Khan Productions to gain entry to the Sundance Film Festival that premiered its first Indian film, "Peepli Live." Additionally, Apoorva Mehta, CEO Dharma Productions, saidthat they will premier their new movie "My Name Is Khan" at the Berlin Film Festival which would give the movie global attention. In the three years 2007-2010, major US studios had signed agreements to co-produce Bollywood films with established Indian directors and production houses. Unfortunately, all of the joint co-productions released were unsuccessful at the box office.

The most aggressive Indian player in Hollywood is Anil Ambani's Reliance Big Pictures, which invested USD 325 million for a 50 percent stake in Steven Spielberg's Dreamworks. The group has also forged development partnerships with several US production houses owned by Nicholas Cage, Jim Carrey, Tom Hanks, Brad Pitt, Julia Roberts and George Clooney. Reliance Big Pictures' COO, Jawahar Sharma, explained that global ambition, rather than strategy, drove the group's decision to tap Hollywood. All of the Reliance ADA group business operations were globally-oriented and the film business is no exception. The group has also acquired movie theatres in the US in areas populated by Indian diasporic communities to showcase Bollywood and regional Indian films. KPMG's Thakkar noted that the Indian film industry had not yet been able to create universally appealing content for a global audience. The genre of Indian film is extremely different from a Hollywood movie; it is longer, has many song and dance numbers, and is considered too dramatic to appeal to Western audiences.

While commercial Indian films had some success in parts of the former Soviet Union and Africa, and a few Indian art house productions have been profitable, overall, Indian films are still reliant on Indian diasporic audiences for global revenues. Some new directors who are exposed to Western film making are making Indian movies in keeping with Western sensibilities to draw wider audiences in world cinema. However, overall, no industry participants predicted that films popular with Indian audiences would find true global audiences; recognizing this, Indian entertainment companies hope to develop content separate from the Indian audience that would appeal to viewers outside India. Indian films pitched to an international audience rarely do well locally. In contrast, using a foreign language film script to make a Bollywood movie with Indian stars has great potential, he said. Yash Raj Studios' Singh explained that crossover films need to appeal to a universal audience and cultural tastes and preferences are always difficult to predict. The film industry in India shared the global ambitions of other Indian companies and industries. As a first step, many newly-professionalized companies were cautiously getting a feel for global markets and opportunities.

Larger entities with deeper pockets - such as Reliance Big Pictures - have moved more boldly, but most of the other artists, technicians and film houses are looking for smaller parts and opportunities to expand beyond India, while maintaining a foothold in their core domestic market. Although visibility for the Indian film industry has increased vis-`-vis movies like "Slumdog Millionaire," the reality is the industry is just beginning to corporatize and understand the Western market. Though many players are attracted to the glamour of the industry, the standard Indian movie rarely makes a profit and is unlikely ever to appeal to Western audiences. The film industry is well-aware of this trend, and seeks to find other avenues for entering the Western market and improve their own profitability within the South Asian diaspora. NEWSLETTER What is the origin of words Bollywood, Hollywood, Tollywood, Kollywood etc? - Quora Quora What is the origin of words Bollywood, Hollywood, Tollywood, Kollywood etc? Does there any meaning exist for these words? Written Apr 24, 2013 There are quite inconsistencies with the previous answer.

So I am posting my answer here - Hollywood - District in Los Angeles in USA and it is famous for movie studios and celebrities, and Hollywood is now synonymous with Cinema of USA. Hence the name Hollywood. Bollywood - It is used with Hindi Cinema based in Bombay mostly, often even Indian Cinema is referred to as Bollywood in international circles. The term is a derivative of Bombay and Hollywood. Tollywood - It is used with Telugu Cinema now a days, but it is used even with Bengali cinema too. Technically Tollywood should refer to Bengali film industry as Bengali Cinema is based in Tolly Gunj, a place in Kolkata and hence the name - Tollywood. But since Telugu cinema is now popular and even it adopted the name Tollywood. Kollywood - It is used with Tamil Cinema. Derives its name form Kodambakkam and Hollywood. Kodambakkam is the happening place for Tamil Cinema activities and all. There are even other derivatives - Mollywood for Kerala (Mallus - Kerala) and Sandalwood for Kannada Film Industry (as Sandal is abundant in Karnataka). Lollywood for Pakistan - reason Lahore and again wood as addendum.

All the derivatives tend to use the place of origin and also mostly portmanteau of Hollywood as that identifies them easier in that trend. Updated Nov 15 Well apart from Hollywood every other word is inspired from Hollywood .Lets check out about the word Hollywood Hollywood as coined by H J Whitley : Father of Hollywood has actually a very interesting history to it .Once upon a time on his honeymoon he was chilling on top of a hill watching an awesome view and strangely saw a Chinese man walking by ,in his wagon ,when asked where he was going he replied "I'm Holly-wood" . Actually meant he was hailing wood . Sir H J Whitley struck to what this Chinese man said and named his town HOLLYWOOD. Bollywood : Bombay + Hollywood Written Jun 11, 2016 H.J. Whitley, known as the father of Hollywood, while honeymooning in an area now called the Hollywood in 1996, came across a Chinese who said that he was ‘hauling wood’ in replying to Whitley’s query about him. Holly stands for Britain and wood for his Scottish woodland. This is the Wikipedia information on the origin of Hollywood.

Bollywood, Kollywood, Tollywood, etc. are modelled on Hollywood, no doubt. Bollywood stands for Bombay film industry (Hindi), Kollywood for Tamil ( Kodambakkam is a part of Chennai city and it is here the film studios producing Tamil films are concentrated ), Tollywood stands for the Telugu film industry located in Hyderabad city. 1.7k Views Written Sep 1 With a little bit of research online I found this: Madhava Prasad traces the origin of the term to a 1932 article in the American Cinematographer by Wilford E. Deming, an American engineer who apparently helped produce the first Indian sound picture. At this point, the Calcutta suburb of Tollygunge was the main centre of film production in India. Deming refers to the area as Tollywood, since it already boasted two studios with 'several more projected' 'Tolly', rhyming with 'Holly', got hinged to 'wood' in the Anglophone Indian imagination, and came to denote the Calcutta studios and, by extension, the local film industry.

Prasad surmises: 'Once Tollywood was made possible by the fortuitous availability of a half-rhyme, it was easy to clone new Hollywood babies by simply replacing the first letter' While this is the historical origin, the general popularity and prevalence of these portmanteaus has more to do with our own lack of self esteem and the need for external validation 1k Views Imtiaz Tyab Correspondent The Islamabad premiere of the much anticipated film Waar was a rare night of celebrity and glamour in the Pakistani capital. The red carpet was littered with big-name stars, well-known politicians and fashionable socialites. Waar – which means "to strike" in Urdu - is the country's first big-budget action film. It's based on the real-life events following a 2009 attack on a top police academy by the Taliban. The multi-million-dollar film is one of at least 21 feature-length film releases this year and is widely seen as part of a revival of Pakistan's struggling film-making industry. Pakistani cinema, known as Lollywood, after the eastern city of Lahore where it was historically based, has steadily declined since the late 1970s.

It was during that time the then military ruler, General Zia ul-Haq, launched an Islamisation agenda that introduced a rigid censorship code, all but ending what has been described as the "golden era" of the industry. Back then more than 200 Pakistani films were made annually, today it is less than one-fifth of that. Adding to the challenges, from a peak of 700 cinemas operating across the country, that number is now just under 200. Shaan Shahid, lead actor of Waar, says the film has the potential to dramatically change the industry which has struggled for decades. "I really feel that with the release of Waar, the Pakistani film industry has arrived. We've received a lot of support making this movie and I think it will inspire young filmmakers to come out and make their own movies," he said. Waar is one of around two dozen Pakistani film releases this year - including Zinda Bhaag - the country's first entry to the Academy Awards' foreign-language category in 50 years. Many see this as an encouraging sign that the industry has turned a corner. But one of the main challenges facing Pakistani film-makers is being able to raise enough money to fund their projects.

Film-making is expensive, and with audiences mainly limited to a handful of major cities, it is not always easy to turn a profit. Iram Praveen Bilal, a Pakistani film-maker, believes it will take at least four to five years before the film industry becomes lucrative to investors. "In India, if you are investing, you can recoup the money on opening weekend for certain budgets. You can't say that about Pakistan cinema. You need a certain film of a certain budget of a genre that you know that the public will watch." It is a gamble the makers of Waar are no doubt hoping will pay off with record box-office receipts. MORE FROM AL JAZEERA Indian films breathe life into Pakistani cinemas | Reuters Fri Apr 25, 2008 | 8:09 AM EDT Indian films breathe life into Pakistani cinemas 1/5 A man walks past an Indian movie poster inside a cinema in Karachi April 21, 2008. Pakistan banned Indian films after going to war with its neighbour in 1965 but over the past few years, as relations between the nuclear-armed rivals have improved, authorities have been allowing a trickle of Indian films to be shown in cinemas.

That has delighted movie fans and cinema operators but Pakistani film producers fear a flood of Indian films could mean the end of the local film industry. Reuters/Athar Hussain/Files + 2/5 People enter a cinema to watch an Indian movie in Karachi April 21, 2008. Pakistan banned Indian films after going to war with its neighbour in 1965 but over the past few years, as relations between the nuclear-armed rivals have improved, authorities have been allowing a trickle of Indian films to be shown in cinemas.That has delighted movie fans and cinema operators but Pakistani film producers fear a flood of Indian films could mean the end of the local film industry. Reuters/Athar Hussain/Files + 3/5 A man sleeps on a road divider in front of a cinema displaying Indian movie posters in Karachi April 21, 2008. Reuters/Athar Hussain/Files + Vehicles are driven past a cinema displaying Indian movie posters in Karachi April 21, 2008. Reuters/Athar Hussain/Files + 5/5 Cinema workers sit next to an Indian movie poster inside a cinema in Karachi April 21, 2008.

Pakistan banned Indian films after going to war with its neighbour in 1965 but over the past few years, as relations between the nuclear-armed rivals have improved, authorities have been allowing a trickle of Indian films to be shown in cinemas. That has delighted movie fans and cinema operators but Pakistani film producers fear a flood of Indian films could mean the end of the local film industry. Reuters/Athar Hussain/Files + By Aftab Borka | KARACHI KARACHI It's a busy night at the Prince cinema in the Pakistani city of Karachi with cars parked across the pavement outside and spilling onto a main street. Movie fans have a rare treat. The Indian film "Race" is being screened. Pakistan banned Indian films after going to war with its neighbor in 1965 but over the past few years, as relations between the nuclear-armed rivals have improved, authorities have been allowing a trickle of Indian films to be shown in cinemas. That has delighted movie fans and cinema operators but Pakistani film producers fear a flood of Indian films could mean the end of the local film industry. "The government must stop the imports.

Do you want to make Lollywood a part of the history books?" said Saeed Rizvi, chairman of the Film Producers Association, referring to the Pakistani movie industry, dubbed "Lollywood" because it is based in the city of Lahore. Pakistan's film industry made about 30 films last year, most of them low-budget imitations of Bollywood fare. With a similar culture and virtually the same language, Pakistani films have been starved of a natural audience in India because of political differences. At home, competition from Bollywood fare as well as the mediocrity of Pakistani films means that many Pakistanis opt to stay at home and watch Indian movies on pirated DVDs. Cinemas have been struggling for years and many operators have given up and sold off their premises which have been converted into shopping centers or offices. From about 750 cinemas nationwide in the 1970s, there are now 300. But Indian films are breathing life back into Pakistani cinemas. India's film industry, including its Mumbai-based "Bollywood" studios, produces about 1,000 films a year.

CASHING IN Karachi cinema owner Qaiser Rafiq is screening "Taare Zameen Par", which is about a boy with a learning disability and was expected to pull in the crowds. "Look at Hollywood or Bollywood. About 35 percent of their population watch movies at cinemas. In Pakistan, the best movie so far has only attracted just 4 percent of our population," Rafiq said. Cinema operators are cashing in on the revival of interest in the cinema the Indian films have generated. Before screenings of Indian films began, a cinema ticket in Karachi cost 100 rupees ($1.55). Now it is 150 rupees ($2.35). "Before the release of Indian films, a good Lollywood film would make about 700,000 in an average week. Now the best week for "Race" in a Lahore cinema made more than 2 million rupees," said another cinema manager. Pakistani film distributors also welcome the revival of cinemas. "It's a ground reality that Indian movies are very much liked in Pakistan," said prominent film distributor Satish Anand. "(But) we shouldn't become dependent on Indian films.

Our own industry needs to do better to compete with their rivals and our government should protect the industry," he said. Pakistan's new culture minister, Khawaja Saad Rafique, said he had been meeting the censor board and film producers to work out a policy on films. The government had to "decide between the profit of cinema owners and the future of Lollywood", he said. "We have to look into the issue very carefully. But one thing is sure, it cannot be one-way traffic," Rafique told Reuters. While Pakistani films are not officially banned in India, tense political relations and the poor quality of many Pakistani films has meant Indian distributors have shunned them. But last month, for the first time in years, a Pakistani film opened in India. The film, "Khuda Kay Liye" (In The Name of God), is about Muslims in a post 9/11 world and deals with the rift between radical and liberal Islam, an issue that confronts India's 140 million Muslims. As Pakistan relaxes its ban on Indian films, Rafique said he wanted to see more Pakistani films screened in India. "If we allow some Indian films into Pakistan, then they will also have to allow Pakistani movies there," he said.

"I have asked for proposals to bring our films to a standard where they can compete with the Indian films. Then we will be in a better position to allow more Indian films, and of course, our movies would do better in India too." (Editing by Robert Birsel and Megan Goldin) ADVERTISEMENT Lollywood Lollywood Sri Lankan Tamil cinema The Lahore film industry, also known by its sobriquet Lollywood ( Urdu : لالی وڈ‎) and Gotham, is the oldest film industry of Pakistani cinema based in Lahore , Punjab , Pakistan . [1] Between 1929 to 2007, Lahore was the center of Pakistani cinema, producing films in both Punjabi and Urdu languages . Since 2007 however, Karachi has largely overtaken Lahore in Urdu film productions, while Lollywood today is more oriented towards Punjabi cinema . The word “Lollywood” was first coined in the summer of 1989 in Glamour magazine published from Karachi by gossip columnist Saleem Nasir. Contents History Silent era (1929–1930) Film operations started out in Lahore in 1920s, now in Pakistan.

The first silent film, The Daughters of Today , was released in 1924 in Lahore, the city had nine operational cinema houses. [2] Movies shown at these cinemas were mostly local productions from Bombay and Calcutta, and seldom from Hollywood and London. [2] The Daughters of Today was a brainchild of G.K. Mehta, a former officer with the North-Western Railways who, much like Bhatavdekar, had imported a camera into the country. Mehta continued to produce newsreel coverage for companies abroad and delved into further film projects but his dedication gave way when he promptly left the film industry for more profitable ventures. [2] But it was to be later in 1929–1930, when Abdur Rashid Kardar’s Husn Ka Daku [3] was released that the film industry was established in essence in Lahore’s Bhati Gate locality. This would later be called Lollywood, a portmanteau of Lahore and Hollywood. [2] Kardar, a professional calligraphist , was accompanied by his fellow-artist and friend Muhammad Ismail, who would make the posters for his films.

Indigenous productions at Bhati Gate (1930s–1946) Although Kardar had worked with G.K. Mehta on The Daughters of Today, he felt he needed to do more to stay in the industry after there was no work left for him to do once the production had been done. With Ismail, he sold all his belongings to set up a studio and a production company under the name United Players Corporation in 1928. [2] Set up at Ravi Road in what is now the Timber Market, the duo hired actors to work with them on their projects. Shooting was mainly done in daylight and limited their productivity, but the area they encompassed was enriched with locations including important landmarks. [2] While the duo established their operations, director Ardeshir Irani ‘s Alam Ara , aka The Light of the World released in 1931. The film would become the first Indian sound film . The duo modelled their work on American and English films with influences not just prevalent in actors’ attires but the movie titles and expressed a desire to seek all means necessary to make a sound film of their own.

Actors who worked for the studio included Hiralal, Gul Hamid , Nazir , Pran Sikhand , Kaushalya Devi, Gulzaar, Mumtaaz and Ahmed Deen. Husn Ka Daku, also known as Mysterious Eagle, Kardar’s directorial début would firmly add him into the directors guild. [2] The Famous Pakistani film that would make him further known in the industry came in 1932. Produced by Hakim Ram Prasad, Heer Ranjha was the first sound film produced in Lahore at the United Players’ studio. [4] Hakim provided the studio with the equipment necessary to direct the sound film marked as the last directed by Kardar in Lahore, starring M. Ismail while launching the careers of Rafiq Ghaznavi, Nazeer and Anwari. Till date, Bhati Gate is known to have produced some of most notable actors, writers and artists, [5] but with tensions running swift towards the independence of Pakistan and India in 1947, most of the actors travelled into areas that are now a part of modern India . The industry left would later be termed as Lollywood.

Post-Independence After the independence of Pakistan in 1947, Lahore was the only film production centre in the newly founded Pakistan and on 7 August 1948 it released the first film, titled Teri Yaad . Since then, film production centres have been opened in the cities of Karachi and Peshawar .The film industry from late 60s to early 80s considered the golden era. 2013 Waar released in 2013 with record opening in box office. 2014 In 2014 year, Lollywood screened 21 films in Urdu , Punjabi and Pashto. Top box office films were Na Maloom Afraad , O21 , The System , Sultanat , Dukhtar and Tamanna . [6] 2015 Pakistan’s film industry and cinema culture - CinemaRevival - DAWN.COM Pakistan’s film industry and cinema culture Originally published on 15-12-2010 The death of Pakistani cinema A curled moustache, a devious smile followed by booming evil laughter and the villain of a Pakistani film has captured the heroine.

With her pleas for help, often followed by distressed movements to escape, the hero may enter the scene. A fight scene ensues, along with dhsoom sounds and long periods in between where the camera zooms up from the villain to the hero’s face. This may take place in a field, an evil feudal lord’s haveli or in the foothills of a mountain. Wherever it is, and be it in Urdu, Punjabi or Pushto, the film is formulaic. Since the decline of Pakistani cinema in the 1970s, mainstream films in the country have lost originality, a good script and an audience. In the ‘golden days’ of Pakistani cinema, the film industry churned out more than 200 films annually, today it’s one-fifth of what it used to be. The Federal Bureau of Statistics shows that once the country boasted of having at least 700 cinemas operating in the country, this number has dwindled down to less than 170 by 2005.

Nowadays, be it in within the green walls of a dhabba, the garish pink paint of a beauty salon or a soft cream-coloured living room in suburbia, the film being played is most likely a Bollywood or Hollywood blockbuster. A Revival But like in the movies, no one ever dies without a fight. In the last five years, a private television studio and its subsidiary film company, made efforts towards what was dubbed as the 'revival of Pakistani cinema.' Along with this initiative the Pakistani government also lifted its 40-year ban on screening Indian movies in Pakistani cinemas. With the sudden re-emergence of Bollywood in Pakistani cinemas and the success of Shoaib Mansoor’s film “Khuda Kai Liye,” there has been hope that the film industry may dust itself off and get back on its feet. Khuda Kai Liye, was successful both in Pakistan and across the border, so far another film has not yet followed the same path. However the success of this film has made it clear – there is an audience just waiting for a good Pakistani movie. Some may argue that the playing of Hollywood and Bollywood movies are ruining the chances of Pakistani films success on the big screen.

Mehreen Jabbar, director of Ramchand Pakistani, believes it’s hard to compete with the two largest film industries in the world. Sometimes Pakistani movies may not be preferred over others she thinks. The screening of Bollywood movies is positive says Omar Ali Khan, a Pakistani filmmaker, “at least people are heading back to the cinemas after twenty years or so.” He adds that the old school Lollywood lobby’s argument on banning Indian films isn’t the smartest of ideas. “It’s a losing argument if you can’t survive in competition.” With the re-development in cinema culture for Pakistani’s there has also been a turn in creating newer original Pakistani films. At the moment Shoaib Mansoor’s new film Bol is being shot in Lahore, Jami’s film is under production along with Bilal Lashari and Sabiha Sumar’s films also being developed in the country this year. It seems that the industry is finally getting the boost it needs in developing the film industry’s infrastructure again. Umair Nasir, a recent graduate from the National College of Art’s film program, sees a bright future for the film industry. Nasir thinks that since movies are being shot and produced in Pakistan again, a pool of technical people is being created.

Another good sign for the film industry? The young filmmakers emerging from schools all over the country. “We have new film schools, this is the most positive sign,” says Nasir. Szabist, National College of Arts, BNU, Iqra University and the Karachi University all now offer some sort of degree in film making or production. The Indus Valley School of Art and Architecture too is planning on starting its film program soon. Jamshed Raza Mahmood, or Jami as he is more famously known, adds that with newer technology and the introduction of HDSLR camera’s being used for filming, the film industry has been revolutionized. Jabbar would agree, “It’s time to take advantage of the digital revolution,” adding that filmmakers can distribute online and if not for commercial success they can always make films for a festival. There are no excuses for filmmakers to not pick up a camera and shoot says Jami. “A pencil, paper, five friends – now go make a film.” What about a camera? According to Jami – an iPhone costs more than an HDSLR camera. “There is a lot of hot air, but very little comes forward” says Khan of those who keep saying they are ‘working on a film’.

With the digital revolution and social media sites being used by filmmakers all over the world, is it time for Pakistan to join in? Lights! Camera! In-action? It’s not that easy to kill a monster, defeat a villain, or win a girls heart – as with every movie there are bumps along the way. A filmmaker may have an idea, the script, the equipment and the actors. Even with the digital revolution and a new age in filmmaking, a little bit of investment is required. Nothing comes for free, because let’s face it, this ain't the movies. Filmmakers in Pakistan often finance their own films. There are no glitzy production houses willing to risk investing in films says Jibran Khan, a young filmmaker and recent graduate from Indus Valley School of Art. Jibran has been trying to sell his film for the last year. “The industry is in the hands of a few millionaires, you have to be in good relations with these people for your film to be picked up,” he says. “I’ve been very disappointed.” “As an independent filmmaker, you can never survive in Pakistan, you should give up and go commercial,” he says sighing.

He thinks that investors want quick returns and don’t look at the big picture. “They just want the same saas-bahu stories again and again.” Nasir, however does not feel the same way, “There are difficulties but you have to be flexible.” Working commercially in making advertisements and music videos is a good thing in Nasir’s eyes. To him it gives young filmmakers the time needed to develop a style and gain experience. This is what Jami had done, and now his latest projects have all been funded by money earned through directing TV commercials and music videos. The same with Jabbar, her film Ramchand Pakistani was financed by 19 different sources. Afia Nathanial is another filmmaker looking for finance for her feature film. She says in Pakistan “there is a very different way of making films than in other countries, where financial and other incentives are given by the state to filmmakers to make films.” Jabbar thinks it’s time to look at other sources of finance when the government does not have promoting film on its agenda. “There are several rich Pakistanis who will spend money on charity balls and fashion shows, but not give to cinema,” she says.

It is under the leadership of wealthy Pakistanis who want to see a revival take place that we will see a change, says Jabbar. For young filmmakers like Jibran, the only solution Jami sees when a film isn’t being picked up is Youtube. If it’s good people will watch it, he says. Financing for a film is still tricky, especially in Pakistan where there is zero state funding and grants hard to come by. “Money is tough to come by” says Jabbar sighing. Time to develop Pakistani niche cinema Recently there has also been an emergence of independent films being created by young filmmakers that fall into niche categories. From Omar Ali Khan’s ‘Zibahkhana’ which won international awards, to the much awaited release of Hammad Khan’s ‘Slackistan’, to Shahbaz Shigri’s short ‘Sole Search’ and Afia Nathanial’s ‘Neither the Veil nor the Four Walls’. Out of these indie films the ones that have got the most coverage originated in Islamabad – a city with no art schools, production houses or even celebrities. With Lollywood in Lahore and the media centre of the country being Karachi, is it possible Islamabad may become the new film capital of Pakistan?

These films fall into solid categories and are made with little money. As Jami puts it, “A lower budget means a higher profit margin.” He thinks a good story will sell no matter what. There is no need for Bollywood glamour or kung-fu moves as long as you have a good script. Shahbaz Shigri, a filmmaker based in Islamabad, where his short film Sole Search is also set, feels that it is Islamabad’s theatre scene that has led to this trend of films emerging from the capital city. “Theatre productions in Islamabad were never linked to schools and universities,” says Shigri, “people took their own initiative.” It is this initiative that has perhaps led young actors and aspiring directors in Islamabad to take the step towards filmmaking. Hammad Khan feels that the commercialisation and corporatisation of the TV industry in Karachi and Lahore may lead Islamabad to emerge as a center for independent film making. “Karachi is so tied into the corporate environment, it’s a rat race,” he says. Jami isn’t too sure about Islamabad yet “there is a lot of work happening in Karachi,” he says. “2010 is the year of the Dragon,” he says about filmmaking in Pakistan.

Question: Which colloquial name is given to the Pakistani film industry, after the city where it is based?
Answer: LOLLYWOOD